Ett föredöme för modern konst

IF 0.2 2区 艺术学 0 ART
C. Lengefeld
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引用次数: 0

Abstract

Summary When Alfred Lichtwark (1852–1914) was appointed director of the Hamburg Kunsthalle in 1886 he set about reorganising the museum's art collections in order to create a modern museum and pave the way for a cautious approach to impressionism. He invited to Hamburg for this purpose many avant‐guarde artists from Germany and elsewhere such as Max Liebermann, Leopold von Kalckreuth, Pierre Bonnard, Edouard Vuillard and others, to paint local motifs. The Swedish painter Anders Zorn (1860–1920) was one of the first guests, being expected to give a model for modern colourism. His watercolour, The Port of Hamburg was signed in 1891. Strangely enough, it was not integrated into the museum's collection until 1901. The first part of the present paper deals with the question of why Zorn's picture “disappeared” for a ten year period. Comparisons with other paintings that suffered a similar fate throughout the 1890's backed up by a study of archive material give an indication that Zorn's watercolour did not confo...
1886年,Alfred Lichtwark(1852-1914)被任命为汉堡美术馆馆长,他着手重组博物馆的艺术收藏,以创建一个现代化的博物馆,并为印象派的谨慎方法铺平道路。为此,他邀请了许多来自德国和其他地方的前卫艺术家,如马克斯·利伯曼、利奥波德·冯·卡尔克罗伊特、皮埃尔·博纳尔、爱德华·维亚尔等人来汉堡画当地的主题。瑞典画家安德斯·佐恩(1860-1920)是第一批客人之一,他被认为是现代色彩主义的典范。他的水彩画《汉堡港》于1891年签署。奇怪的是,它直到1901年才被纳入博物馆的收藏。本文的第一部分讨论了为什么佐恩的照片“消失”了十年的问题。通过对档案材料的研究,佐恩的水彩画与整个19世纪90年代遭受类似命运的其他画作进行了比较,表明佐恩的水彩画并没有……
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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
17
期刊介绍: Konsthistorisk tidskrift/Journal of Art History includes investigations on art, architecture, and visual culture. We welcome articles on works, creators, and specific themes, as well as on theory and historiography. Accepted articles can be thorough explorations of a topic in accordance with a standard academic genre. We also welcome texts in a shorter, less finished format, functioning as openings to discussions.
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